Gen Bang

漢魏人但知坤為邦國，於是卦無坤象者遂不能解。茲按《易林·師之賁》云「惠我邦國」，《乾之艮》云「寇賊大至，入我邦國」，皆以艮為邦。以是推坎蹇漸中孚彖傳皆曰邦，皆以正互艮為邦，非以坤為邦。

Han and Wei scholars only knew that坤 represented a state or country, so when they encountered hexagrams without the image of坤, their interpretations did not make sense. Now, according to the verses in the "Yi Lin" from the "Shi" hexagram to the "Ben" hexagram, it says "Kindness to my state," and from the "Qian" hexagram to the "Gen" hexagram, it says "Robbers come in great numbers, entering my state," both take Gen as the state. From this we can infer that in the "Kan," "Jian," "Jian," and "Zhongfou" hexagrams, when the term "state" appears in the Commentary on the Judgment, it refers to Gen rather than坤, either as the main trigram or as an interacting trigram.

《易林·姤之遯》云「展轉空床」，以遯艮為床也；《旅之同人》云「床傾簀折」，同人通師，師二至四艮覆，故曰床頭。自得此象，始知剝初六六二六四之床之皆以艮，易原以剝為大艮也。舊解統以巽為床，解巽卦尚可，解剝卦遂不合矣。

The "Forest Discourse" of the "Yi Lin" on "Gou" changing to "Dun" says "turning and twisting on an empty bed," taking the lower trigram of "Dun," Gen, as the bed. In the case of "Lv" changing to "Tong Ren," it says "the bed tilts and the bamboo mat breaks." "Tong Ren" is in mutual opposition with "Shi," and the trigrams two to four of "Shi" form Zhen, which is the inverted image of Gen. Inversion leads to overturning, so the "Forest Discourse" refers to the bed tilting. Since we have obtained this image, we now understand that the bed mentioned in the first line of "Bo" ("peeling the bed from the foot"), the second line ("peeling the bed from the knee"), and the fourth line ("peeling the bed from the skin") all refer to Gen. The "Yi Jing" originally regarded the entire "Bo" hexagram as a large Gen, with five yin lines covering one yang line. Old commentaries all took Xun as the bed, which iswith difficulty for explaining the "Xun" hexagram, but does not fit for explaining the "Bo" hexagram.

虞翻謂面指四，非也，伏艮為面也。《易林·遯之蒙》云「雲過吾面」，蒙坎為雲，艮為面也；又《泰之觀》云「無面有頭」，亦以艮為面。革上六艮伏，故曰革面。面者，向也，史記項羽本紀「馬童面之」是也。

The Sixth line at the top of the "Revolution" hexagram says "small people change their faces." Yu Fan said that the "face" refers to the fourth line, which is incorrect. In fact, it refers to the hidden image of Gen (Mountain). In the "Forest of Divination" under the hexagram "Retreating to Innocence," the line says "clouds pass over my face." The lower trigram of "Innocence" is Kan (Water), representing clouds, and the upper trigram is Gen (Mountain), representing the face. In the "Observing" hexagram, it says "without a face but with a head," also using Gen to represent the face. Since the "Revolution" hexagram is opposite to "Innocence," and the upper trigram of "Innocence" is Gen, the "Revolution" hexagram's Sixth line at the top contains the hidden image of Gen, hence "changing the face." The term "face" here means "direction" or "orientation." The "Records of the Grand Historian: Biography of Xiang Yu" mentions Liu Mato "turning his face toward him," which is exactly this usage.

舊解皆以離為貝。茲按《易林·剝之蒙》云「齎貝贖狸」，蒙艮為手為貝，故曰齎貝；又《謙之蠱》《訟之大畜》皆曰喪貝，亦皆以艮為貝。蓋艮剛在上，亦可為貝。震六二艮體，故曰貝；坎失，故曰喪貝。

The line "Yi Sang Bei" in line six-two of the Zhen hexagram. Old commentaries all took Li as Bei. Now according to the phrase "Ji Bei Shu Li" in the "Yi Lin·Bao Zhi Meng," the term "Ji Bei" refers to carrying Bei, which is explained as the upper trigram Gen representing hand and also Bei, so "Ji Bei" means carrying Bei. The two phrases "Sang Bei" in "Qian Zhi Gu" and "Song Zhi Da Xu" also take Gen as Bei. Probably because Gen is a single strong line covering above, resembling the shape of a shell, so it can also represent Bei. In the Zhen hexagram, lines two to four form the trigram Gen, and line six-two is exactly within this Gen trigram, hence "Bei"; lines three to five form the trigram Kan, which represents loss, hence "Sang Bei."

《易林·節之謙》云「伯去我東，首髮如蓬」，以震為髮也；《訟之需》云「引髯牽須」，需通晉，晉艮為髯須為手，故曰牽須，以艮為須也。蓋震為生，髮向上生，故震為髮；而震反為艮，鬚髯皆向下生，故艮為須。其取象皆以卦形。

The "Yi Lin · Jie Zhi Qian" passage says, "The elder brother goes east, his hair is like thorns," using Zhen to represent hair. In the "Qian" trigram, lines three to five form Zhen; in "Song Zhi Xu," it says, "Pulling the beard and mustache," in "Xu" the opposite trigram is "Jin," and lines two to four of "Jin" form Gen. Gen represents beard and mustache, as well as hands, hence the phrase "pulling the mustache." This uses Gen to represent the mustache. Generally, Zhen governs hair growth, which grows upward, so Zhen represents hair; when Zhen is inverted, it becomes Gen, which represents beard and mustache that grow downward. Thus, Gen represents the mustache. These images are derived from the shape of the hexagram lines.

自得震髮象，始知既濟九二之喪髴，從子夏傳，謂半震也。震為髮，髴者髮飾，二四又形巽，巽寡髮，故喪髴。又自得艮須象，始知賁六二之賁其須，為鬚髯之須，與上賁其趾對文。虞氏訓須為待，固非；惠士奇謂須當為斑，尤非；毛西河惠棟本說文，謂須為面毛，得解矣，而皆不知須究為何象，於是毛西河以口上頤下為說，易焉有如此取象者哉？賁上艮為須，下離為文，而二為離中，言下離文上艮也，故象曰「與上興也」。上謂上卦艮，諸儒謂指六五或指上九言者，皆非也。

Since I obtained the image of Zhen (Thunder) representing hair, I understood that the phrase "sang fú" in the line "Nine in the Second" of the Hexagram 63 (Ji Ji) refers to half of the Zhen image. Zhen represents hair, and "fú" refers to hair ornaments. Between the second and fourth lines, the image of Xun (Wind) appears, and Xun represents sparse hair, so it is said that the hair ornaments are lost. Also, since I obtained the image of Gen (Mountain) representing beard, I understood that the term "xu" in the line "Six in the Second" of the Hexagram 2 (Ben) refers to beard, which corresponds with the previous line "Ben its toes," which is a parallel expression. Yu Fan's interpretation of "xu" as waiting is incorrect. Hui Shiqi's suggestion that "xu" should be read as "ban" (white hair) is even more wrong. Mao Qilin (pen name Xihé) and Hui Dong, based on the Shuowen Jiezi, said that "xu" refers to hair on the face, which is somewhat correct. However, they did not know the origin of the image of "xu." Therefore, Mao Qilin explained "xu" as being above the mouth and below the chin, but the Book of Changes does not use such a method of imagery. In fact, the upper trigram of Ben is Gen (Mountain), representing beard, and the lower trigram is Li (Fire), representing ornamentation. The line "Six in the Second" is within the lower trigram Li, meaning that the ornamentation of the upper trigram Gen is done by the decorative patterns of the lower trigram Li. Therefore, the Image Commentary says, "Ben its beard, with the upper trigram rising." The term "upper" refers to the upper trigram Gen. Various scholars have interpreted it as referring to line six in the fifth position or line nine at the top, but these interpretations are incorrect.

《易林·坤之謙》云「修其翰翼」，《大壯之震》云「晨風文翰」，皆以震為翰也。自得此象，賁六四之白馬翰如，始知翰為羽翰之翰，言馬行迅速，其形容似之。馬荀作高，鄭作白，清儒作乾，皆失翰如形容之妙。又自得此象，中孚上九之翰音登于天，人知翰音之為巽雞，而不知翰音之用伏。中孚上巽伏震，震為音為翰，故曰翰音。虞氏謂翰為高音，指互震，非。

The "Forest of Divination" in the "Book of Changes" under the hexagram "Kun" to "Qian" says "cultivate its wings and feathers," and under "Da Zhuang" to "Zhen" it says "morning wind with feathered wings." Both use Zhen to represent "hàn," meaning feathers. Since this image was established, the line "White horse with wings like flying" in the sixth line of "Ben" (Hexagram 2) came to be understood as "hàn" meaning feathered wings, indicating the horse's speed resembles the swift flight of a bird's wings. Ma Rong and Xun Shuang interpreted it as "gao" (high), Zheng Xuan took it as "bai" (white), and Qing dynasty scholars took it as "gan" (dry), all missing the poetic beauty of the description "hàn rú" (like flying wings). Furthermore, since this image was established, the line "Hán yīn dēng yú tiān" (Hán sound ascends to heaven) in the top line of "Zhong Fu" (Hexagram 42) also gained meaning: people only know that "hán yīn" refers to Xun as a chicken, but they do not realize that here the hidden image is used. The upper trigram of "Zhong Fu" is Xun, and the hidden trigram (the opposite) is Zhen, which represents sound and wings. Therefore, it is called "hán yīn." Yu Fan's interpretation that "hán" refers to high sound and points to the mutual trigrams of Zhen is incorrect.

《易林·困之泰》云「陰雲四方，日在中央」，以泰上坤為雲也；又《未濟之升》云「雲興蔽日」，亦以升上坤為雲。自得此象，始知小畜小過之密雲，皆以重陰，而非取象於坎，故曰不雨。不雨之故，皆以下有艮火也。

The "Forest of Divination" in the "Yi Lin" under the hexagram "Kun" to "Tai" says, "Dark clouds surround all directions, the sun is in the center." Therefore, the upper trigram of "Tai," which is "Kun," is taken as clouds. Similarly, in the "Forest of Divination" under the hexagram "Wei Ji" to "Sheng," it says, "Clouds rise and obscure the sun," again taking the upper trigram of "Sheng," which is "Kun," as clouds. Since obtaining this image, it has become clear that the "dense clouds without rain" mentioned in the hexagrams "Xiao Xu" and "Xiao Guo" are both taking the multiple yin lines as clouds, not as the trigram "Kan." Therefore, it is said "without rain" — if it were really "Kan" water, rain would occur. The reason for no rain is that there is "Gen" below, and "Gen" represents fire.

《易林·師之萃》云「鴻雁啞啞，以水為家」，以艮為鴻雁也；《臨之師》云「鴻鵠失珠」，以震為鴻也。自得此象，漸之六鴻遂能解。漸下艮為鴻，上巽通震，震亦為鴻，故六爻皆言鴻。此見巽卽言震，亦猶解上六見震卽言巽高墉也。易原視本象與對象不分也。自此象失傳，後儒以互離為鴻，互離不能及六爻也。

The "Forest of Divination" in the "Book of Changes" under the hexagram "Military" to "Gathering" says, "Wild geese cry in unison, taking water as their home," so the hexagram Gen (Mountain) is used to represent the wild geese—lines two to four of the hexagram "Gathering" form the hexagram Gen. The "Forest of Divination" under the hexagram "Approaching" to "Military" says, "Wild cranes lose their pearls," so the hexagram Zhen (Thunder) is used to represent the wild cranes—lines two to four of the hexagram "Military" form the hexagram Zhen. Since this image was established, all six lines of the hexagram "Gradual Progress" can be interpreted as referring to "wild geese": the lower trigram of "Gradual Progress" is Gen (Mountain), representing wild geese, and the upper trigram is Xun (Wind), which is connected to Zhen (Thunder), and Zhen (Thunder) also represents wild geese, so all six lines can be interpreted as referring to wild geese. This is because when the trigram Xun is seen, Zhen is also taken into account, just as in the hexagram "Release" with line six, when Zhen is seen, Xun is also taken into account and interpreted as "high rampart" (Xun represents height). The "Classic of Changes" originally regarded the image of the primary hexagram and the image of its opposite hexagram as inseparable. Since this image was lost, later scholars changed to using the interacting trigrams Li (Fire) as representing wild geese, but the interacting trigram Li cannot cover all six lines.

艮鳥震鳥。《易林·履之咸》云「鳥升鵲舉」，以咸下艮為鳥也；《蠱之解》云「鳥返故巢」，以解上震為鳥也。自得此象，始知小過上下卦皆有鳥象，故彖與上初稱飛鳥，舊解皆誤。

The trigram Gen (Mountain) represents a bird, and the trigram Zhen (Thunder) also represents a bird. The "Forest Commentary" of the Book of Changes, in the section "Lu to Xian," says "birds rise and cranes fly," so the lower trigram Gen in Xian represents a bird. In the section "Gu to Jie," it says "birds return to their old nests," so the upper trigram Zhen in Jie represents a bird. Since we have obtained this image, we now realize that both the upper and lower trigrams of Xiao Guo contain the image of a bird—the lower trigram Gen and the upper trigram Zhen. Therefore, the hexagram statement and the lines Six at the Top and Six at the Beginning all refer to "flying birds," and all previous annotations were wrong.

《易林·恆之臨》云「商人休止」，又旅林云「不利旅客」，以震為商旅也。震為行，故為商旅。因思復象云「商旅不行」，以震為商旅也，坤閉，故不行。舊說非。

The "Forest Commentary" of the "Forest of Changes" says "merchants rest" for the hexagram "Constant," and "unfavorable for travelers" for the hexagram "Traveler," both taking Zhen as merchants and travelers. In the hexagram "Constant," lines two to four form an interacting Zhen; in the hexagram "Traveler," it is opposite to "Restraint" and contains Zhen. Zhen represents movement, hence it can represent merchants and travelers. This leads to the thought that the "Image Commentary" of the hexagram "Returning" says "the former kings closed the borders on the winter solstice, and merchants and travelers did not move," which also takes Zhen as merchants and travelers. The lower trigram of "Returning" is Zhen, and the upper trigram is Kun, which represents closure, hence saying "they do not move." The old interpretation is incorrect.

自得此象，大過枯楊、離科上槁皆得解，詳卷四。統易林凡言枯者，不啻數十，無以乾老為枯者，虞翻用象誤也。

Since the image of Li (Fire) as withered branches was established, the reference to "withered elm" in Da Guo (Great Excess) lines Nine in the Second and Nine in the Fifth, as well as the statement in Shu Gua Zhuan that Li "relates to wood as the withered branches on the tree top," all make sense. Details are given in Volume Four of this book. A thorough examination of Jiao's Forest of Changes reveals that there are dozens of instances mentioning "withered," none of which use Qian (Heaven) as old age and derive "withered" from it. This shows that Yu Fan's use of the image was incorrect.

《易林·剝之中孚》云「隙大牆壞」，以巽為隙也。自得此象，井九二甕敝漏之義愈明，詳卷六。

The "Forest Divination" section of the "Yi Lin" on the hexagram Zhongfū says "the wall cracks and collapses," using Xun to represent the crack—since the upper trigram of Zhongfū is precisely Xun. Since this image was adopted, the meaning of the line "the jar is broken and leaks" in the hexagram Jing becomes clearer: the lower trigram of Jing is Xun, which represents a crack, so the ceramic jar breaks and leaks water. See Volume Six of this book.

自得此象，中孚正覆震，於是和字始能解；正覆艮，於是陰字始知為山陰，覆艮，詳見前。

Since the image of Zhen (Thunder) as a crane was established, the line "A crane calls in the shade, its young respond in harmony" from Zhongfou (Trustworthiness) Nine Two makes sense. The second to fourth lines of Zhongfou form Zhen, and the third to fifth lines form Gen. Gen is an inverted Zhen, so the upright Zhen and the inverted Gen correspond to each other, making the word "harmony" understandable. Similarly, this upright and inverted pair are both Gen, so the word "shade" becomes clear as referring to the north side of a mountain—the inverted Gen represents the north side of a mountain. See the previous discussion for details.

舊解皆本繫辭，以渙為舟。豈知刳木為舟，指渙之互震也；剡木為楫，指渙之上巽也，非以重卦渙為舟也。解繫辭而誤，於是中孚之乘木舟虛，遂不知舟象之何屬。按《易林·大有之謙》云「方船備水」，謙上坤為方，互震為船。自得此象，於是中孚之舟虛遂能解。

Old commentaries all rely on the "Great Treatise" saying "carving wood into a boat, cutting wood into oars... this is taken from the Hexagram of Dispersal," and take the entire Hexagram of Dispersal as a boat. But they do not realize that "carving wood into a boat" refers to the trigram Zhen (Thunder) formed by the second to fourth lines of the Hexagram of Dispersal, and "cutting wood into oars" refers to the upper trigram Xun (Wind) of the Hexagram of Dispersal. It is not about taking the Hexagram of Dispersal itself as a boat. Since the interpretation of the "Great Treatise" is already wrong, the statement in the "Commentary on the Judgment" of the Hexagram of Middle Trust, "riding a wooden boat in emptiness," also fails to explain where the image of the boat comes from. According to the "Forest of Divination" in the "Great Having" hexagram, the line says "a square boat is prepared for water." The upper trigram of "Humility" is Kun (Earth), representing squareness, and the third to fifth lines form Zhen (Thunder), representing a boat. Since the image of a boat has been taken as Zhen (Thunder), the "boat in emptiness" in the Hexagram of Middle Trust can now be understood.

震船之象，自來人不知。杭辛齋謂日本學易者有意象，以震為船，若中國無此象者。豈知《易林》有且多，至東漢失之耳。又意象以離為鏡，杭亦稱之，豈知《易林·恆之未濟》云「蔽鏡無光」，以離為鏡；又《升之賁》云「日鏡不明」，亦以賁下離為鏡。

The image of Zhen (Thunder) as a boat has never been understood by others. Hang Xinzhai mentioned that Japanese scholars of the Book of Changes have a concept called "Intentional Image," using Zhen as a boat, as if China did not have this image. In fact, the Jiao's Forest of Changes not only includes this image but uses it frequently, though it was lost by the Eastern Han dynasty. The concept of "Intentional Image" also takes Li (Fire) as a mirror, which Hang Xinzhai also praised. However, he did not know that in the Jiao's Forest of Changes, the section "Heng to Wei Ji" says "the mirror is covered and has no light," which takes Li as a mirror; and in "Sheng to Ben," it says "the sun mirror is unclear," which also takes Li, the lower trigram of Ben, as a mirror.

《易林·無妄之中孚》云「有兩赤鷂，從五隼噪」，兩鷂謂兌震，五隼謂巽艮也，兌數二，巽數五也，是以艮為隼也。因思解上六「射隼高墉之上，獲之，無不利」，艮隼覆，故獲也。唐黃賀說小過云「鳥墮雲間」，亦以艮鳥覆為墮，墮卽獲矣。

The "Yi Lin · Wu Wang Zhong Fu" says, "There are two red hawks following five falcons": the two hawks refer to Dui and Zhen, while the five falcons refer to Xun and Gen. In the Earlier Heaven hexagram numbers, Dui is two and Xun is five, so "two" comes from Dui and "hawks" from Zhen, "five" comes from Xun and "falcons" from Gen. Thus, Gen is taken as the falcon. This leads to thinking about the "Jie" hexagram's upper sixth line, which says, "The public shoots a falcon on a high wall, and captures it, with no disadvantage." Here, Gen is the falcon, but it is inverted as a reversed Gen, so the falcon falls, hence "capturing it." Tang dynasty scholar Huang He explains the "Xiao Guo" hexagram as "birds falling from the clouds," also viewing the bird in Gen as inverted to represent falling, and falling equates to being captured.

左氏云「三蟲為蠱」，蠱者，壞也。壞之故，以蠱多；多之故，以風止山下也。《易林》每以巽為蠱，本之左氏也。

The *Zuo Zhuan* says that the character "蛊" is a combination of a vessel and three insects, symbolizing decay. Therefore, decay arises from too many insects; insects proliferate because the wind is blocked by the mountain and stops beneath it. The *Guzh* hexagram, which has *Gen* (mountain) above and *Xun* (wind) below, represents wind stopping beneath the mountain, leading to stagnation and the growth of insects. The *Jiao's Forest of Changes* often associates *Xun* with *Guzh*, based on this explanation from the *Zuo Zhuan*.

《易林·漸之臨》云「斧斤卽折」，臨兌為斧，兌毀，故折；又《節之萃》云「千歲槐根，身多斧瘢」，萃中爻艮，艮多節，故曰瘢，兌斧，故曰斧瘢。統《易林》凡十數用，皆以兌為斧，無以離為斧者。蓋兌為剛魯，為附決，為毀折，斧者決物之器，亦折物之器，故為斧。虞翻以離為斧說旅九四之得斧，尚可通；說巽上九之喪斧，遂不合。於是虞翻命三變離毀，以詁喪字，其為曲解，尚足辨乎？旅九四之得斧，以互兌也；巽上九之喪斧，以兌覆也。《易林·萃之訟》云「亡錐失斧」，訟兌覆，故失斧，正注此也。凡象反者，義必反，雜卦所釋，至明白也。此亦二千年之誤象，由《易林》而明也。至資為齊，舊解甚詳，茲略。

In Jiao's Forest of Changes, the commentary on "Gradual" leading to "Approaching" says, "The axe immediately breaks." The lower trigram of "Approaching" is Dui, which represents an axe, and Dui also signifies destruction and breaking, hence the meaning of breaking. In the commentary on "Restriction" leading to "Cessation," it says, "A thousand-year elm tree, its body has many axe marks." The trigrams two to four of "Cessation" form a Geng trigram, which signifies many branches and knots, hence the meaning of "marks." The upper trigram of "Cessation" is Dui, which represents an axe, hence the meaning of "axe marks." Upon examining several instances in Jiao's Forest of Changes, all use Dui as the axe, and none use Li as the axe. Probably because Dui is strong and fierce, representing cutting and breaking, and the axe is an instrument for cutting and breaking things, so Dui can represent an axe. Yu Fan's use of Li as the axe to explain "Travel" nine four "obtaining his axe" is勉强 acceptable, but it does not fit when explaining "Wind" upper nine "losing his axe." Therefore, Yu Fan changed the爻 position to the third, saying that Li has been destroyed, using this to explain the word "losing," but is such a forced interpretation worth debating? In "Travel" nine four, "obtaining the axe" is because trigrams three to five form Dui; in "Wind" upper nine, "losing the axe" is because the Dui there has been reversed. In Jiao's Forest of Changes, "Cessation" leading to "Strife" says, "losing the awl and the axe." The trigrams three to five of "Strife" are reversed Dui, hence the meaning of "losing the axe," which can serve as a commentary for this line. Whenever a trigram is reversed, its meaning necessarily becomes opposite. The explanation in the "Zajiaguanzhuan" is precisely based on this principle, which is clear. This has been a misunderstanding for two thousand years, but it was clarified by Jiao's Forest of Changes. As for "zi" being interpreted as "qi," the old annotations explain it in detail, so I will omit it here.

《易林·師之旅》云「空槽住豬，豚彘不到」，旅下艮為豬豚，艮止故不到；又《頤之遯》云「豶豕童牛」，遯下艮，艮為豕，是《易林》顯以艮為豚豕，與坎同也。自得此象，凡易之言豕，除睽上九用伏坎外，餘大畜六五之豶豕，謂艮為豕也，艮少，故曰豶豕；姤初六羸豕孚躑躅，艮為豕，初二半艮，足短，《易林·謙之鼎》云「狗無前足」，鼎初二半艮，故足短，又體巽，故曰羸豕；中孚彖曰豚魚吉，亦以互艮為豚。蓋艮為虎為狐，故亦為豚豕，不必再三變成坎也。

Jiao's Forest of Changes says in the section on the Hexagram of the Army: "An empty trough with pigs, but no pigs come." The lower trigram of the Hexagram of Travel is艮, which represents pigs and young pigs, and since艮 also signifies stillness, it is said that the pigs do not come. In the section on the Hexagram of Retreat, it says "castrated pig and young bull." The lower trigram of Retreat is also艮, which represents pigs: this shows that Jiao's Forest of Changes clearly uses艮 to represent pigs, just as坎 does. Since this image has been established, whenever the Classic of Changes mentions pigs, except for the line "a pig carrying mud" in the upper ninth line of the Hexagram of Parting, which uses the hidden坎, all other instances use艮 to represent pigs. For example, in the sixth line of the fifth in the Hexagram of Great Accumulation, "the tooth of a castrated pig,"艮 is used to represent pigs. Since艮 represents the young male, it is called "castrated pig." In the first line of the Hexagram of Encountering, "a weak pig with faith, moving about,"艮 represents the pig, but the first line and the second line only form half of艮, so the legs are short, just as Jiao's Forest of Changes says in the section on the Hexagram of Humility: "a dog without front legs" — the first and second lines of the Hexagram of the Cauldron are half of艮, so the legs are short. Also, the lower trigram of Encountering is巽, which signifies weakness, so it is said "a weak pig." The Hexagram of Middle Trust says "young pigs and fish are auspicious," which also uses the interacting trigram艮 to represent pigs. Probably, since艮 can represent tigers and foxes, it can naturally also represent pigs and young pigs, without needing the lines to change three times to form a坎.

《易林·無妄之益》云「東之樂邑」，益下震為東為樂，艮為邑也；又《需之離》云「中留北邑」，離中爻伏艮，為邑也。自得此象，無妄行人之得、邑人之災，始知人謂震、邑謂艮。蓋艮為居為止為室廬，故為邑；又艮為火，故曰焚。舊說取象皆誤。

The "Forest of Divination" in the "Yi Lin" under the hexagram "Wu Wang" says "eastern pleasant town." In the hexagram "Yi," the lower trigram is Zhen, which represents east and joy, and the lines three to five form the trigram Gen, which represents town. In the hexagram "Xu" under "Li," it says "middle stay northern town." In the hexagram "Li," the middle lines conceal Gen (since Li communicates with Kan, and Kan contains Gen), and Gen represents town. Since obtaining this image, the line six in the third position of "Wu Wang" says "the traveler's gain is the town's calamity," we now know that "person" refers to Zhen and "town" refers to Gen. Since Gen represents dwelling, stillness, and buildings, it can represent town; Gen also represents fire, so the calamity for the town refers to burning. Previous interpretations of this imagery are incorrect here.

《易林·同人之坎》云「鼓其羽翼，飛上喬木」，坎中爻震，為鼓為飛為羽翼；又《坤之謙》云「修其翰翼」，亦以謙中爻震為羽翼。自得此象，始知漸上九之羽之指伏震；明夷初九之飛翼象似指明夷之六四，六四應初，且震體也，而未必為離。離在地下，尚何言飛？然舊解俱如此。今既得震飛震翼象，心有所疑，故指出以俟知者。

The "Forest of Divination" in the "Yi Lin" under the hexagram "Tong Ren" to "Can" says, "Beat its wings and fly to the tall tree." In the hexagram "Can," the middle lines are interrelated with "Zhen," which represents beating, flying, and wings. The "Kun" hexagram to "Qian" says, "Repair its wings," also using the interrelated "Zhen" in the middle lines of "Qian" as wings. Since obtaining this image, it has become clear that the "feathers" in the "Jian" hexagram's upper nine, "Its feathers may be used as a standard," refers to the hidden "Zhen" within the hexagram. The "Jian" hexagram has "Xun" above, and "Zhen" is the corresponding trigram. As for the image of flying and wings in the "Ming Yi" hexagram's initial nine, "Ming Yi in flight, hanging its wings," it seems to refer to the fourth line of "Ming Yi," since the fourth line corresponds with the initial nine and is located within the interrelated "Zhen." The "Li" trigram is below in the "Ming Yi" hexagram, so how can there be flying? Yet old interpretations have always said so. Now that we have obtained the image of "Zhen" as flying and wings, we have doubts, so we point this out, waiting for those who understand to judge.

《易林·屯之坤》云「采薪得麟」，以坤為薪也；《剝之坤》云「荻芝俱死」，亦以坤為荻薪。荻卽茅茹也。自得此象，否泰初爻之拔茅茹，始知其為坤象，拔茅茹卽采薪也。泰用旁通，詳卷三。

The "Forest Divination" in the "Forest of Changes" under the hexagram "Zun" (Obstruction) says "gathering firewood and obtaining a qilin," using the earth hexagram to represent firewood. The "Forest Divination" in the hexagram "Bo" (Breaking) says "both reeds and herbs die," also using the earth hexagram to represent reeds and firewood. Reeds refer to a type of grass like mao ru. Since this image was adopted, the "initial line" of the hexagram "Pu" (Obstruction) and the "initial line" of the hexagram "Tai" (Peace) saying "pulling out mao ru," we now know that it originates from the earth image. Pulling out mao ru is equivalent to gathering firewood. The lower trigram of the hexagram "Tai" is Qian (Heaven), but it uses the opposite trigram Kun (Earth), as explained in volume three of this book.

虞翻但知坤為鬼，豈知坎為隱伏，亦鬼象也。既濟九三曰鬼方，未濟九四曰鬼方，皆以互坎也，而虞氏必以為坤象，誤之遠矣。《易林·姤之需》云「卑斯似鬼」，以需坎為鬼，是其證。

Yu Fan only knew that Kun represents ghosts, but he did not realize that Kan represents concealment, which is also an image of ghosts. The line "High King attacked the ghost lands" in the line nine of the third in "Ji Ji" and the line "Zhen was used to attack the ghost lands" in the line nine of the fourth in "Wei Ji" both take the mutual trigram Kan as representing ghosts. Yu Fan insisted on interpreting them as Kun, which was a great mistake. The "Yi Lin · Gou Zhi Xu" says "Bi Si Si Gui", which takes the upper trigram Kan of Xu as representing ghosts. This is the evidence.

《易林·坤之隨》云「衣裳簋簋」，以隨震為簋也。自得此象，始知坎六四之簋、損彖之二簋皆謂震，而漢魏人皆不知。

The "Forest Statement" of the "Forest of Changes" on "Kun following" says "clothes, caps and vessels," so the vessel (gui) refers to Zhen (Thunder) in the lower trigram of "Following." Only after obtaining this image did we realize that the gui in the line "six in the fourth" of Kan (Water) "Zun wine and two gui" and the gui in the "Hexagram Statement" of "Loss" "two gui can be used for sacrifice" both refer to Zhen. This is because the second to fourth lines of Kan form Zhen, and the same applies to the second to fourth lines of "Loss." However, people of the Han and Wei dynasties were unaware of this.

《易林·坤之隨》云「舉袂覆目」，以震為舉為袂也。自得此象，始知歸妹六五之袂之謂震也。袂，袖口也。歸妹上震下兌，皆有口象，而六五陰，九二陽，故五不如二良。

The "Forest Statements" of the "Forest of Changes" under the hexagram "Kun following" say "raising sleeves to cover the eyes." Therefore, the trigram Zhen is taken as "raising" and "sleeve." Since we have obtained this image, we now know that the "sleeve" mentioned in the line statement of "Return of the Bride" hexagram six in the fifth refers specifically to Zhen. A sleeve is the opening of a sleeve. The upper trigram of "Return of the Bride" is Zhen and the lower trigram is Dui, both of which have the image of a mouth. The sixth line is a yin line, while the second line is a yang line, and yin is less than yang. Therefore, the line statement says that the sleeve of the ruler is not as good as the sleeve of the bride's younger sister.

歸妹六五曰「其君之袂」，以震為君也；小過六五不及其君，亦以上震為君。《易林》本之，凡遇震卽言君，而二千年不知其象，故小過六二不能解。

The sixth line of "Guimei" says "the sleeve of the ruler," taking Zhen as the ruler. "Xiaoguo" says "not reaching the ruler, meeting the minister," also taking the upper trigram Zhen as the ruler. Based on this, "Jiao's Forest of Changes" always refers to the ruler when encountering Zhen. However, for two thousand years no one has understood this image, so the second line of "Xiaoguo" has never been properly explained.

《易林·大有》云「白虎張牙」，以兌為牙也。自得此象，始知大畜六五豶豕之牙，易原以兌為牙。五應二，二體兌也。鄭玄讀牙為互，清儒治漢易者多宗之，此卦象失傳之過也。艮為角，故曰牛角；兌為牙，故曰豶牙。若以牿為告，以牙為互，則非對文矣。

The "Lin Ci" of the "Yi Lin" for the hexagram "Da You" says "White Tiger spreads its teeth," taking the trigram Dui as teeth. Since obtaining this image, it has been understood that in the hexagram "Da Xu," line six five "the teeth of the castrated pig" refers to Dui as teeth: line six five corresponds with line nine two, and line nine two is located within the Dui trigram formed by the lines two to four. Zheng Xuan read "teeth" as "mutual," meaning the horizontal pole used to restrain animals, and many Qing dynasty scholars studying the Yi Jing followed him, which was an error caused by the loss of the hexagram images. Gen represents the horn, so line six four refers to the ox's horn; Dui represents the teeth, so line six five refers to the teeth of the castrated pig. If "gù" is read as "gào" and "yá" is read as "hù," these two lines would no longer form parallel phrases.

《易林·同人之豫》云「玉杯文案」，又《益之大壯》云「罍尊重席」，杯尊皆謂震也。自得此象，始知坎六四之尊之為互震，自漢迄清，皆不知其象。

The "Yubai Wenxian" in the "Yilin · Tongren Zhī Yu" says, "Jade cup and documents," and the "Li Zhi Dazhuang" says, "Léi respectful seating." Cup and léi both refer to Zhen. The upper trigram of "Yu" is Zhen, and the upper trigram of "Dazhuang" is also Zhen. Since obtaining this image, it is known that the "Zunji Gui'er" in the "Kan" hexagram six in the fourth line comes from the interacting trigram Zhen. From the Han dynasty until the Qing dynasty, no one understood this image.

解負且乘，以震為乘，艮為負也。《易林·乾之隨》云「乘龍上天」，以震為龍為乘；《同人之無妄》云「負牛上山」，以艮為負，是其證。

The hexagram 解 has the line Six in the Third saying "carrying something and riding on it, leading to the arrival of thieves," using 震 as the riding and 艮 as the carrying. The forest of the 易林, in the entry from 干 to 随, says "riding a dragon to heaven," using 震 as dragon and as riding — the lower trigram of 随 is exactly 震; in the entry from 同人 to 无妄, it says "carrying a bull up the mountain," using 艮 as carrying — the trigrams from the second to fourth lines of 无妄 form 艮: these are the evidence.

《易林·大畜之履》云「箕子佯狂」，履通謙，以震為箕子為狂。自得此象，知明夷彖傳之箕子之為震象，六五則字異。並知易於人名皆取卦象，如明夷文王、泰帝乙皆是也。

The "Forest of Divination" section of the "Book of Changes" titled "Great Accumulation" and "Walking" states, "Jizi feigned madness." The "Walking" hexagram is in mutual opposition with "Humility," and the third to fifth lines of "Humility" form the trigram Zhen (Thunder). This uses Zhen to represent Jizi and his feigned madness. Since obtaining this image, it has been understood that the "Commentary on the Judgment" of "Brightening Darkness" refers to the trigram Zhen as the image of Jizi. As for the "Jizi" in the fifth line of the sixth line, it is originally a different character and should be read as "gai zi." It has also been realized that the names of people in the "Book of Changes" are all derived from the hexagram images, such as "Wen Wang" in the "Commentary on the Judgment" of "Brightening Darkness" and "Di Yi" in the fifth line of "Greatness," which are all examples of this.

說卦乾為金，而易言金者五，皆非乾象，於是虞氏謂陽為金，毛奇齡謂兌為金，種種揣測，皆不得其象。按《易林·隨之屯》云「金玉滿堂」，以屯艮為金；《剝之蒙》云「齎金贖狸」，以蒙艮為金；又《升之噬嗑》云「金城鐵郭」，亦以噬嗑互艮為城郭為金鐵。蓋艮為堅，故為金。

The *Say卦Transmission* says that Qian represents metal, but the *Book of Changes* mentions metal in five places, none of which are associated with Qian. Yu Fan therefore proposed that yang lines represent metal, while Mao Qiling suggested that Dui represents metal. All these interpretations have failed to find the true symbolic meaning. According to the *Forest of Divination* in the *Yi Lin*, in the hexagram *Following* changing to *Sprouting*, the phrase "gold and jade fill the hall" uses the intermediately generated Gen in lines three to five to represent gold. In the hexagram *Splitting Through* changing to *Ignorance*, the phrase "presenting gold to redeem a cat" uses the upper trigram Gen of *Ignorance* to represent gold. In the hexagram *Rising* changing to *Breaking the Bones*, the phrase "a golden city with iron walls" uses the intermediately generated Gen in lines two to four to represent city walls and metal. Probably because Gen is solid and firm, it can represent metal.

說卦本為不完之書，如干為馬，震坎亦為馬；坤為輿，坎亦為輿；乾為亦，坎亦為赤，說卦皆言之。至坎為水坤亦為水，坎為月兌亦為月，乾為金艮亦為金，則不兼詳也。虞翻等知其一，不知其二，於是遇此等象，遂穿鑿百出。而易漢注存今者，虞氏獨多，於是治漢易者所當猛醒也。

The "Shuo Gua Zhuan" is originally an incomplete work. For example, it says that Qian represents a horse, as do Zhen and Kan; Kun represents a cart, as does Kan; Qian represents red, as does Kan—these are all discussed in the "Shuo Gua Zhuan." However, it does not mention that Kan represents water and Kun also represents water, or that Kan represents the moon and Dui also represents the moon, or that Qian represents metal and Gen also represents metal. Yu Fan and others only know one aspect but not the other, so when encountering such symbolic representations, they resort to forced interpretations and come up with various fanciful explanations. Yet, among the Han dynasty commentaries on the "Yi," the ones preserved today are the most numerous from Yu Fan. This is precisely the warning that scholars studying the Han dynasty "Yi" should take seriously.

自得艮金象，於是易之言金者皆得解。蒙六三云「見金夫」，三應上，上艮，故曰金；三體震，震為夫，故曰金失。而三至五坤，坤為躬，坤死，故不有其躬。噬嗑九四云「得金矢」，亦以艮為金，坎為矢，故曰得金矢；六五云得黃金，離為黃，艮為金，故曰得黃金。

Since obtaining the image of mountain (Gen) representing metal, all references to metal in the Yi Jing can be explained consistently. In the line "Seeing a man of metal, one does not possess one's own body" from the line Six in the Third of the Meng hexagram, the line Six in the Third corresponds with the line Nine at the Top, which is in the Gen trigram, hence called "metal." The line Six in the Third is also in the Zhen trigram, which is formed by the interaction of lines two to four, and Zhen represents a husband, thus combining to form "a man of metal." The lines three to five interact to form the Kun trigram, which represents the body and also signifies death, hence the phrase "one does not possess one's own body." In the line "obtaining a metal arrow" from the line Nine in the Fourth of the Shihe hexagram, metal is also represented by Gen. The hexagram Shihe has the Gen trigram formed by lines two to four, and the Kan trigram represents the arrow, hence "obtaining a metal arrow." The line "obtaining yellow metal" from the line Six in the Fifth refers to the Li trigram representing yellow and the Gen trigram representing metal, hence "obtaining yellow metal."

困九四云「困于金車」，困通賁，四體艮，互震為車，故曰金車。鼎六五云「金鉉利貞」，鼎通屯，五體艮，故曰金；坎為木，為穿，故曰鉉。鉉，鼎扛也，卽貫耳以舉鼎者也，卽士喪禮「左執匕抽扃」之扃。扃者，橫木關於鼎耳，左傳宣十二年「楚人惎之脫扃」是也。而此則不為木而為金，故曰金鉉。總此爻全用旁通，上句曰鼎黃耳，耳卽用屯坎。

The line "困于金车" in the fourth line of the hexagram "困" says: "Trapped by a golden chariot." The hexagram "困" is related to "贲" through mutual opposition. The fourth line in "贲" is located within the structure of the mountain (Gèn), which represents metal, hence "golden." The third to fifth lines of "贲" form the trigram of thunder (Zhèn), which symbolizes a chariot, thus the term "golden chariot." The line "鼎黄耳金铉, 利贞" in the fifth line of the hexagram "鼎" says: "A bronze cauldron with yellow ears and a golden bar, beneficial to maintain rectitude." The hexagram "鼎" is related to "屯" through mutual opposition. The fifth line in "屯" is located within the structure of the mountain (Gèn), which represents metal, hence "golden." The upper trigram of "屯" is water (Kǎn), which represents wood and penetration, hence "bar." The bar is the horizontal pole used to lift the cauldron, which is the same as the "jiōng" mentioned in the "Rites of the Zhou: Funeral Rites for a Scholar," where it says "left hand holds the knife and draws the jiōng." The jiōng is a horizontal pole inserted through the cauldron's ear, as mentioned in the "Zuo Zhuan" during the twelfth year of Duke Xuan's reign, where it says "the Chu people taught him to remove the jiōng." Here, the jiōng is not wooden but golden, hence "golden bar." In summary, this line uses the method of mutual opposition to derive its imagery. The previous line says "鼎黄耳," where the "ear" also uses the water (Kǎn) from "屯."

凡易辭，有其象而不必有其事。昔儒謂豚魚無知，焉能感格，易若如此解，將無一句可通矣。艮之為須，既從《易林》得其象，歸妹六三之須，疑亦用伏艮，為鬢毛之須，而未必為待。何以知之？下九四象曰「有待而行也」，知六三無待義。六三象曰「歸妹以須，未當也」，言女不應有須也；若訓為待，有何不當，且與九四義復矣。惟其未當，故反歸以娣。反者，退也，言以須之故，降而為娣也。娣者本象，須者伏象，本象與對象雜用，易恆列也。愚向持是說，而不敢定，後讀《易林·渙之歸妹》云「妹為貌慹，敗君正色」，莊子「慹然似非人」，言可怖也。貌慹謂須，《易林》原有此訓也。慹，之涉切，與色韻。

The words of the Book of Changes often only contain the image, not necessarily referring to actual events. Previously, there were scholars who said that pigs and fish have no sense of perception, so how could they be moved by sincerity? If the Book of Changes were interpreted in this way, then none of its statements would make sense. The trigram Gen represents beard, and since we have already obtained this image from the Forest of Changes by Jiao, then the term "mustache" in line six of the hexagram Guimei likely refers to the beard on the side of the face, which is hidden within the trigram Gen (as Guimei is opposite to Zhen, and Zhen's lower trigram is Gen). Therefore, it may not mean "waiting." How do we know this? The Image Commentary for line nine in the fourth position says, "The intention of delay is waiting for an opportunity to act," which shows that line six does not mean "waiting." The Image Commentary for line six says, "Guimei with a beard is inappropriate," meaning that a woman should not have a beard. If we interpret "beard" as "waiting," then waiting would not be inappropriate, and it would be redundant with the meaning of line nine. It is precisely because having a beard is inappropriate that one "returns to be a younger sister" — "return" means to retreat, meaning that because of the beard, one has to lower one's status and become a younger sister in marriage. The term "younger sister" comes from the original hexagram's image, while "beard" comes from the hidden trigram's image. The original and the opposite images are used together, which is a common practice in the Book of Changes. I once held this view but was uncertain. Later, when I read the Forest of Changes under the hexagram Huan to Guimei, it says, "The younger sister is concerned with appearance and looks frightening," and the Zhuangzi mentions, "Looks frightening, as if not human," which describes something terrifying. "Appearance and looks" clearly refers to a beard. Thus, the Forest of Changes originally had this interpretation. The character "tian" is a phonetic loan character, and it rhymes with the character "se."

舊解皆以離為矢，說噬嗑九四之金矢、解九二之黃矢尚可通，至旅六五之矢亡，亡字遂不能解，其誤與以離為斧同也。按《易林·豐之坎》云「枉矢西流」，坎為矢為矯輮，故曰枉矢；又《遯之師》云「鹿下西山，欲歸其群，逢羿箭鋒，死於矢端」，師互震為鹿，坎為箭矢，坤死，故曰死於矢端；又《大有之賁》云「楚烏逢矢」，賁離為鳥，坎為矢，坎在離前，故曰楚烏逢矢，說文「楚烏，雅也」。《易林》之以坎為矢，可謂明白矣。

Old commentaries all take Li as an arrow, which can still make sense when explaining the "golden arrow" in line nine two of "Shihe" and the "yellow arrow" in line nine two of "Jie." But when it comes to line six five of "Lv" saying "one arrow is lost in shooting a pheasant," the word "lost" cannot be explained. This error is of the same kind as taking Kan as an axe. According to the "Forest of Changes" in "Jiao's Forest of Changes," in the divination for "Feng" over "Kan," it says "crooked arrow flows west," where Kan is the arrow and also represents bending and twisting, so it refers to a curved arrow. In the divination for "Dun" over "Shi," it says "a deer goes down the western mountain, wanting to return to its herd, meets the arrowhead of Yi and dies at the end of the arrow." The lines two to four of "Shi" form Zhen, representing a deer, and the upper trigram Kan represents the arrow, while Kun signifies death, so it says dying at the end of the arrow. In the divination for "Dayou" over "Ben," it says "a crow meets an arrow." The lower trigram of "Ben" is Li, representing a bird, and the interacting trigram Kan is the arrow. Since Kan comes before Li, it says the crow meets the arrow. The "Shuo Wen Jie Zi" says "Chu Wu is a crow." The "Forest of Changes" by Jiao takes Kan as the arrow, which is clearly explained.

蓋坎為棘為七為穿，故為矢。矢象既得，於是凡易之言矢者皆得其解。噬嗑九四曰「得金矢」，艮為金，互坎為矢；解九二曰「得黃矢」，互離為黃，下坎為矢，坎為獲，故曰得；旅六五云「射雉一矢亡」，則以伏坎為矢，坎伏，故曰矢亡。繫辭說睽象云「剡木為矢」，坎為木為矢，兌斧，故曰剡矢。

The trigram Kan represents thorns, the number seven, and penetration, so it can be used to represent an arrow. Once the image of an arrow is established, any mention of arrows in the Book of Changes can be interpreted. In the line "Nine in the Fourth" of the hexagram Shihe, it says "obtaining a golden arrow," where Gen represents metal and the interacting trigrams contain Kan, which represents the arrow. In the line "Nine in the Second" of the hexagram Jie, it says "obtaining a yellow arrow," where the trigrams from the second to the fourth lines contain Li, which represents yellow, and the lower trigram Kan represents the arrow. Since Kan also represents capture, it is said "to obtain." In the line "Six in the Fifth" of the hexagram Lu, it says "shooting a pheasant with one arrow, losing it," where the hidden trigram Kan represents the arrow. The hexagram Lu is opposite to Jie and contains Kan, which is hidden and not visible, hence "the arrow is lost." The Great Treatise explains the imagery of the hexagram Kui by saying "carving wood into arrows," where Kan represents both wood and the arrow, and Dui represents the axe, hence cutting wood to make an arrow.

凡易象用於此而合，施之全易而或有不能通者，其取象必誤。漢魏人以離為矢，噬嗑及解已不如用坎之親切，然猶可強說；獨旅卦上離，而反曰一矢亡，於是二千年人不知亡字之義，且不知一數之何指。豈知易原以坎為矢，坎後天數一，坎伏，故曰一矢亡。二千年易家之大誤，見說卦以離為雉，所有鳥象皆欲屬之；以離為甲兵，所有兵器皆欲屬之；以離為蚌蟹，所有介族皆以專屬之。豈知不若是之專一哉？

Whenever an image from the Book of Changes is used in a particular context and fits well, but when applied throughout the entire text leads to inconsistencies, then the image must be incorrect. Han and Wei scholars took Li (Fire) as an arrow, and used it in the hexagrams "Shihe" (噬嗑) and "Jie" (解), but this was not as appropriate as using Kan (Water) instead. However, it could still bewith difficulty explained. But in the hexagram "Lv" (旅), the upper trigram is Li, yet the line statement says "one arrow is lost." For two thousand years, people have not understood the meaning of the character "亡" (lost) and have also not known what the number "一" (one) refers to. In fact, the Book of Changes originally took Kan as the arrow. In the Later Heaven arrangement, Kan represents the number one. In the hexagram "Lv," the Kan is hidden, hence the statement "one arrow is lost." The great mistake of scholars for two thousand years has been that, upon seeing the "Shu Guan Zhuan" (Sayings of the Trigrams) say that Li represents a pheasant, they tried to assign all bird images to Li; upon seeing that Li represents armor and weapons, they tried to assign all weapons to Li; upon seeing that Li represents a clam and a crab, they tried to assign all shellfish and armored creatures exclusively to Li. They did not realize that the imagery in the Book of Changes is not so singular.

震為夫，見孟氏逸象，於是解易者皆用之，豈知坎亦為夫。左傳坎變巽，曰「夫從風，風隕不可娶」，是以坎為夫也。《易林·觀之訟》云「讒夫在堂」，亦以訟坎為夫，坎上下兌口相背，故曰讒夫；又《無妄之比》云「夫亡從軍」，亦以比坎為夫，夫在外，故曰亡。亡者，往也。

The trigram Zhen represents a husband, as mentioned in Mengxi's extraordinary images. Therefore, interpreters of the Book of Changes adopted this view, but they did not realize that Kan also represents a husband. In the divination examples recorded in the Zuo Zhuan, when Kan changes to Xun, the interpretation states, "The husband follows the wind, the wind falls, and it is not suitable to marry," which uses Kan to represent the husband. In the "Yinlin" section of the Yilin, under the hexagram Guan changing to Song, the verse says, "A slanderous husband is in the hall," which also uses the lower trigram Kan of Song to represent the husband. Since the upper and lower halves of Kan each form a Dui trigram mouth facing opposite directions, the mouths are opposing, hence it is called "slanderous husband." In the hexagram Wuwang changing to Bi, it says, "The husband has gone to join the army," which also uses the upper trigram Kan of Bi to represent the husband. Since the husband is in the outer trigram, it is said "has gone," where "gone" means to go out, indicating being away from home.

自得此象，知比後夫，以上坎為失；蒙六三曰見金夫，以下坎為夫；大過九二曰老夫，以伏震為夫；至小畜九三曰夫妻反目，則以伏坎為夫；睽九四曰遇元夫，則以互坎為夫；漸九三曰夫征不復，亦正以互坎為夫。乃知左氏與《易林》仍本之易也。夫妻反目、夫征不復，解並見前，皆以震為夫，乃得坎夫象，故並著之，以資商搉。

Since the image of the坎 (Kan) as husband is obtained, the statement of the 《Bi》 hexagram says "the husband is inauspicious," which refers to the upper trigram Kan as husband; the line 《Meng》 six three says "seeing a noble husband," which refers to the lower trigram Kan as husband; the line 《Da Guo》 nine two says "the old husband marries his daughter as wife," which refers to the hidden trigram Zhen as husband, because 《Da Guo》 is connected with 《Yi》 and the lower trigram of 《Yi》 is Zhen; the line 《Xiao Xu》 nine three says "husband and wife quarrel," which refers to the hidden trigram Kan as husband, because 《Xiao Xu》 is connected with 《Yu》 and the trigrams three to five of 《Yu》 are Kan; the line 《Kui》 nine four says "meeting the original husband," which refers to the interacting trigram Kan as husband; the line 《Jian》 nine three says "the husband goes on a journey and does not return," which also refers to the interacting trigram Kan as husband. From this we can see that the 《Zuo Zhuan》 and 《Jiao's Forest of Changes》 still base themselves on the 《Yi Jing》."Husband and wife quarrel" and "the husband goes on a journey and does not return" are both explained in the previous text, where previously the trigram Zhen was taken as husband, but now the trigram Kan is also taken as husband, so they are recorded together for discussion.